Sky TV has agreed to fully acquire TV3 owner Discovery New Zealand for $1.

Discovery NZ is a part of US media giant Warner Bros Discovery, and operates channel Three and online streaming platform ThreeNow.

NZX-listed Sky said the deal would be completed on a cash-free, debt-free basis, with completion expected on August 1.

Sky expected the deal to deliver revenue diversification and uplift of around $95 million a year.

Sky expected Discovery NZ’s operations to deliver sustainable underlying earnings growth of at least $10 million from the 2028 financial year.

Sky chief executive Sophie Moloney said it was a compelling opportunity for the company, with net integration costs of about $6.5 million.

“This is a compelling opportunity for Sky that directly supports our ambition to be Aotearoa New Zealand’s most engaging and essential media company,” she said.

Confidential advance notice
Sky said it gave the Commerce Commission confidential advance notice of the transaction, and the commission did not intend to consider the acquisition further.

Warner Bros Discovery Australia and NZ managing director Michael Brooks said it was a “fantastic outcome” for both companies.

“The continued challenges faced by the New Zealand media industry are well documented, and over the past 12 months, the Discovery NZ team has worked to deliver a new, more sustainable business model following a significant restructure in 2024,” Brooks said.

“While this business is not commercially viable as a standalone asset in WBD’s New Zealand portfolio, we see the value Three and ThreeNow can bring to Sky’s existing offering of complementary assets.”

Sky said on completion, Discovery NZ’s balance sheet would be clear of some long-term obligations, including property leases and content commitments, and would include assets such as the ThreeNow platform.

Sky said irrespective of the transaction, the company was confident of achieving its 30 cents a share dividend target for 2026.

‘Massive change’ for NZ media – ThreeNews to continue
Founder of The Spinoff and media commentator Duncan Greive said the deal would give Sky more reach and was a “massive change” in New Zealand’s media landscape.

He noted Sky’s existing free-to-air presence via Sky Open (formerly Prime), but said acquiring Three gave it the second-most popular audience outlet on TV.

“Because of the inertia of how people use television, Three is just a much more accessible channel and one that’s been around longer,” Greive said.

“To have basically the second-most popular channel in the country as part of their stable just means they’ve got a lot more ad inventory, much bigger audiences.”

It also gave Sky another outlet for their content, and would allow it to compete further against TVNZ, both linear and online, Greive said.

He said there may be a question mark around the long-term future of Three’s news service, which was produced by Stuff.

No reference to ThreeNews
Sky made no reference to ThreeNews in its announcement. However, Stuff confirmed ThreeNews would continue for now.

“Stuff’s delivery of ThreeNews is part of the deal but there are also now lots of new opportunities ahead that we are excited to explore together,” Stuff owner Sinead Boucher said in a statement.

On the deal itself, Boucher said she was “delighted” to see Three back in New Zealand ownership under Sky.

“And who doesn’t love a $1 deal!” Boucher said, referring to her own $1 deal to buy Stuff from Australia’s Nine Entertainment in 2020.

This article is republished under a community partnership agreement with RNZ.

Article by AsiaPacificReport.nz

The Greenpeace flagship Rainbow Warrior has sailed into Auckland to mark the 40th anniversary of the bombing of the original Rainbow Warrior in 1985.

Greenpeace’s vessel, which had been protesting nuclear testing in the Pacific, sank after French government agents planted explosives on its hull, killing Portuguese-Dutch photographer Fernando Pereira.

Today, 40 years on from the events on July 10 1985, a dawn ceremony was held in Auckland.

Author Margaret Mills was a cook on board the ship at the time, and has written about her experience in a book entitled Anecdotage.

The 95-year-old told TVNZ Breakfast the experience on board “changed her life”.

“I was sound asleep, and I heard this sort of bang and turned the light on, but it wouldn’t go on.

She said when she left her cabin, a crew member told her “we’ve been bombed”.

‘I laughed at him’
“I laughed at him, I said ‘we don’t get bombs in New Zealand, that’s ridiculous’.”

She said they were taken to the police station after a “big boom when the second bomb came through”.

“I realised immediately, I was part of a historical event,” she said.

Journalist David Robie. who travelled on the Rainbow Warrior and wrote the book Eyes of Fire: The Last Voyage and Legacy of the Rainbow Warrior published today, told Breakfast it was a “really shocking, shocking night”.

“We were so overwhelmed by the grief and absolute shock of what had happened. But for me, there was no doubt it was France behind this.”

“But we were absolutely flabbergasted that a country could do this.”

He said it was a “very emotional moment” and was hard to believe it had been 40 years since that time.

‘Momentous occasion’
“It stands out in my life as being the most momentous occasion as a journalist covering that whole event.”

Executive director of Greenpeace Aotearoa Russel Norman said the legacy of the ship was about “people who really stood up for something important”.

“I mean, ending nuclear testing in the Pacific, imagine if they were still exploding bombs in the Pacific. We would have to live with that.

“And those people back then they stood up and beat the French government to end nuclear testing.

“It’s pretty inspirational.”

He said the group were still campaigning on some key environmental issues today.

Article by AsiaPacificReport.nz

From being the headline to creating them, Moana Maniapoto has walked a rather rocky road of swinging between both sides of the media.

Known for her award-winning current affairs show Te Ao with Moana on Whakaata Māori, and the 1990s cover of Black Pearl, the lawyer-by-trade doesn’t keep her advocacy a secret.

Her first introduction to news was at the tail end of the 1980s when she was relaxed in the guest seat at Aotearoa Radio — Auckland’s first Māori radio station — but her kōrero hit a nerve.

“I said something the host considered radical,” she said.

“He quickly distanced the station from my remarks and that got the phones ringing.”

It became a race for listeners to punch numbers into the telephone, the first person to get through was New Zealand filmmaker, producer and writer Merata Mita, who ripped into the host.

“How dare you talk down to her like that,” Maniapoto recalled. The very next day she answered the call to host that show from then on.

No training, no worries
Aotearoa Radio was her first real job working four hours per day, spinning yarns five days a week — no training, no worries.

“Oh, they tried to get us to speak a bit flasher, but no one could be bothered. It was such a lot of fun, a great bunch of people working there. It was also nerve-wracking interviewing people like Erima Henare (NZ politician Peeni Henare’s father), but the one I still chuckle about the most was Winston Peters.”

She remembers challenging Peters over a comment he made about Māori in the media: “You’re going to have to apologise to your listeners, Moana. I never said that,” Peters pointed out.

They bickered in true journalist versus politician fashion — neither refused to budge, until Maniapoto revealed she had a word-for-word copy of his speech.

All Peters could do was watch Maniapoto attempt to hold in her laughter. A prompt ad break was only appropriate.

But the Winston-win wasn’t enough to stay in the gig.

“After two years, I was over it. It was tiring. Someone rang up live on air and threatened to kill me. It was a good excuse to resign.”

Although it wasn’t the end of the candlewick for Maniapoto, it took 30 years to string up an interview with Peters again.

Short-lived telly stints
In-between times she had short-lived telly stints including a year playing Dr Te Aniwa Ryan on Shortland Street, but it wasn’t for her. The singer-songwriter has also created documentaries with her partner Toby Mills, their daughter Manawanui Maniapoto-Mills a gunning young actress.

Maniapoto has featured on the cover of magazines, one in particular she remembers was Mana magazine in 1993.

“Sally Tagg photographed me in the shallow end of a Parnell Baths pool, wrapped in metres of blue curtain net, trying to act like it was completely normal,” she said.

Just 10 years ago she joined Mana Trust which runs the online Sunday mag E-Tangata, mentored by Gary Wilson (co-founder and co-editor) and print journalist Tapu Misa who taught her how to transfer her voice through computer keys.

“Whakaata Māori approached me in 2019, I was flattered, but music was my life and I felt wholly unequipped for journalism. Then again, I always love a challenge.”

Since jumping on board, Te Ao with Moana has completed six seasons and will “keep calm and carry on” for a seventh season come 17 February, 2025 — her son Kimiora Hikurangi Jackson the producer and “boss”.

It will be the last current affairs show to air on Whakaata Māori before moving the TV channel to web next year.

Advocating social justice
Her road of journalism and music is winding. Her music is the vehicle to advocating social justice which often landed her in the news rather than telling it.

“To me songwriting, documentaries, and current affairs are all about finding ways to convey a story or explore an issue or share insights. I think a strength I have are the relationships I’ve built through music — countless networks both here and overseas. Perfect for when we are wanting to deep dive into issues.”

Her inspiration for music grew from her dad, Nepia Tauri Maniapoto and his brothers. Maniapoto said it was “their thing” to entertain guests from the moment they walked into the dining room at Waitetoko Marae until kai was finished.

“It was Prince Tui Teka and the Platters. Great vocal harmonies. My father always had a uke, gat, and sax in the house,” she said.

Born in Invercargill and raised in Rotorua by her māmā Bernadette and pāpā Nepia, she was surrounded by her five siblings who some had a keen interest in kapa haka, although, the kapa-life was “too tough” for Maniapoto. Instead, nieces Puna Whakaata, Mourei, and Tiaria inheriting the “kapa” gene. Maniapoto said they’re exceptional and highly-competitive performers.

Blending her Ngāti Pikiao, Ngāti Tūwharetoa, and Tūhourangi whakapapa into song was no struggle.

The 1990s was filled with soul, R’n’B, and reggae, she said, singing in te reo was met with indifference if not hostility.

‘Labelled a radical’
“If you mixed in lyrics that were political in nature, you were labelled a ‘radical.’ I wasn’t the only one, but probably the ‘radical’ with the highest profile at the time.”

After her “rare” single Kua Makona in 1987, Moana & the Moahunters formed in the early 1990s, followed by Moana and the Tribe which is still going strong. Her sister Trina has a lovely singing voice and has been in Moana & The Tribe since it was formed, she said.

And just like her sixth television season, Maniapoto has just churned out her sixth album, Ono.

“I’m incredibly proud of it. So grateful to Paddy Free and Scotty Morrison for their skills. Looks pretty too on vinyl and CD, as well as digital. A cool Xmas present. Just saying.”

The microphone doesn’t seem to be losing power anytime soon. All albums adequately named one-to-six in te reo Māori, one can only punt on the next album name.

“It’s kinda weird now morphing back into the interviewee to promote my album release. I’m used to asking all the questions.”

This article is republished under a community partnership agreement with RNZ.

Article by AsiaPacificReport.nz

Television New Zealand has breached its collective agreement with the E tū union when deciding on discontinuing programmes, the Employment Relations Authority has ruled.

It was announced in March that 68 staff members who work for news programmes Midday and Tonight, consumer justice programme Fair Go, current affairs programme Sunday, and the youth programme Re: and in-house video content production were affected by redundancy.

Last month, the company confirmed the axing of Fair Go and Sunday, along with its midday and late night news bulletins.

Yesterday, the Employment Relations Authority (ERA) ordered the broadcaster to go into mediation with E tū union.

“The Authority finds that TVNZ has breached cl 10.1.1 of the collective agreement,” the ruling stated.

It said that if after mediation, matters were not resolved, an order would be made against TVNZ to comply with its collective agreement.

Executives, staff gave evidence
TVNZ executives and staff were among those giving evidence in an investigation meeting at the ERA in Auckland on Monday relating to the state broadcaster’s alleged breaches in its redundancy process.

E tū union took the case against TVNZ, arguing the company did not follow the consultation requirements under its collective agreement with its members.

E tū wants more of a role in the initial decision-making, which it said TVNZ was obliged to do under the collective agreement.

But TVNZ opposed the application, claiming there had been no breach and that the company had clearly communicated to staff and unions that redundancies would take place.

In a statement, TVNZ said: “We are disappointed by the decision today from the Employment Relations Authority. We will now take the time to consider the decision and our next steps”.

Staff still employed
E tū negotiator Michael Wood told RNZ Checkpoint yesterday that the determination was a very clear one and any redundancy notices that had been issued were therefore not valid.

Staff still continue to be employed during this mediation because “there has not been a legitimate process to result in their redundancies”, Wood said.

It had been a “botched process”, he said.

“If you have an agreement with someone that says you’re going to work through something in a particular way, you need to follow it and TVNZ did not follow it in this case and the ERA has affirmed that.”

It had been an incredibly disruptive time for stuff and they were “really happy about this outcome”, Wood said.

The ERA said the clause that TVNZ had breached was an uncommon provision, but Wood said the company signed off on it.

“We would like to meet as soon as we reasonably can.”

This article is republished under a community partnership agreement with RNZ.

Article by AsiaPacificReport.nz

The announced closure of Television New Zealand’s last primetime current affairs programme seems to be the final nail in the coffin for New Zealand’s television credibility. Coming a day after the announcement of the closure of Newshub, it shows that Kiwis have the worst television and video media in the Western world.

Let’s compare ourselves with our mates across the ditch. Australia’s ABC TV features a nightly current affairs show called 7.30. The blurb for it reads:

“Sarah Ferguson presents Australia’s premier daily current affairs program, delivering agenda-setting public affairs journalism and interviews that hold the powerful to account. Plus political analysis from Laura Tingle.”

Clearly 7.30 is far more serious than our Seven Sharp with its fluffy stories and advertorials. The ABC also screens six weekly current affairs shows and documentaries this week. Shows like Australian Story, Four Corners and Media Watch.

But Australia has five times as many people as we do so that’s why they can afford it, right?

Ireland has five million people, like NZ, but they still have primetime current affairs. In fact, the Irish enjoy quite a lot of it. The Irish version of TVNZ is RTÉ and features a nightly current affairs show called Nationwide and three weekly current affairs programmes on serious topics.

There are several other human interest factual programmes too, on subjects like history, gardening, dance and more. It’s the same in other countries with similar populations such as Norway, Denmark, Finland and so on.

It’s true that in New Zealand, there’s still the off-peak studio politics programmes like Q+A, and current affairs in te ao Māori are well examined on Whakaata Māori. But what about the rest of NZ?

Some people might say television is dead, and everything is online now. But nearly all online current affairs videos start out as television programmes. The only exceptions are Newsroom’s video investigations with Melanie Reid, and Stuff Circuit which is now disbanded. And for younger audiences there is Re: which TVNZ is also making cuts to.

Death of current affairs TV
The death of New Zealand’s prime-time current affairs television has been a long time coming. At first it was documentaries that dwindled and then disappeared off our screens.

Other genres that are expensive to produce have also become extinct or rarer than a fairy tern — drama, science programmes, kidult, arts programmes, wildlife documentaries, chat shows. Now we can add consumer affairs and prime-time current affairs to the list.

But it doesn’t have to be this way. If other countries can do it, why not NZ?

On Wednesday, the Minister for Media and Communications, Melissa Lee, said “I don’t think I can actually save anything. I’m trying to be who I am, the Minister for Media and Communications.”

This suggests either a lack of understanding of her role or a lack of ambition. She also let slip that there was no way she could save Newshub.

The only substantive solution to come from the minister is her promise to review the Broadcasting Act. But that review process was initiated by the Ministry for Culture and Heritage years ago and started under the Labour government.

Moreover, the Broadcasting Act does little more than lay out the rules for broadcasting complaints, election broadcasting, and establish NZ On Air, the BSA and Te Māngai Pāho.

Minister just tweaking
The minister says she is reviewing the Broadcasting Act to create a “more level playing field” and allow media businesses to “innovate”. That doesn’t sound like it will do much for television and video current affairs, which will take much more than just tweaking how NZ On Air and the BSA work.

Perhaps she intends something much more comprehensive, such as a new funding stream for public media, perhaps through a levy, a compulsory subscription, or even a licence fee.

Despite her protestations, there are several options available to the minister. To save TVNZ’s Fair Go and Sunday, she could provide TVNZ with an interim cash injection (which is actually what governments often do in disasters) until the comprehensive long-term funding is sorted out.

To save Newshub she could promise to remove advertising from TVNZ, or partially on weekends only. This would throw Warner Bros Discovery a lifeline in the form of advertisers looking for a television station to advertise on. She does not have to stand by and watch while our media burns.

Sunday is only with us for a few more weeks. Enjoy it while it lasts.

Myles Thomas is a trustee for Better Public Media Trust. This article was first published by The New Zealand Herald and is republished with the author’s permission.

Article by AsiaPacificReport.nz

Warner Bros Discovery has done a deal with Stuff to provide news to replace Newshub. It will keep news on TV channel Three from July 6 and help Three retain some viewers.

It also means important income for Stuff, but it will also stretch the company’s staff, finances and technology.

Stuff will provide a one-hour bulletin each weekday and a half-hour on weekends.

Stuff will also retain a live Newshub website.

Warner Bros Discovery chief executive and Stuff publisher Sinead Boucher confirmed the arrangement at a joint news conference today.

Boucher had told her staff the company will “definitely be bringing some Newshub staff” to produce the 6pm bulletins.

She then told reporters she was unsure how many staff would be required, but it would be fewer than “40 to 50” specified in a “stripped back” proposal from Newshub’s own staff.

‘We are digital first’
“We’re not getting into the TV business. We are a digital first multimedia company building a new 6pm product for Warner Brothers,” she said.

Mediawatch understands many media companies approached WBD with proposals to provide news after the company first proposed the cost-saving closure in late February.

However, by the time of the confirmation earlier this month most of those had been rejected by WBD.

Sky TV was also reported to be in the running. It currently runs a Newshub-produced bulletin at 5:30pm each weekday on the free-to-air channel Sky Open and would require a replacement. It also had plenty of TV production facilities.

Sinead Boucher said a Sky bulletin was not included in the deal, but she hoped there would be discussions about that.

Negotiations were carried out in secret both before and after Warner Bros Discovery (WBD) confirmed the complete closure of Newshub on July 5, leaving the company with no news presence.

Stuff refused to comment during the process and Stuff journalists told RNZ Mediawatch on Monday night they were unaware of an impending announcement.

“We didn’t want to raise expectations for Newshub staff when we weren’t sure what would be required,” Boucher told reporters today, explaining that the deal had been done in haste.

Why do the deal – and what’s it worth?
The money WBD is putting into the deal is confidential but it is certain to be just a fraction of the current cost of running Newshub, which would run to tens of millions of dollars a year.

WBD was clearly determined to carve that cost off the bottom line of its loss-making local operation. The financial benefit for Stuff may not be great taking the set-up and running costs into account.

WBD’s Glen Kyne said neither company would comment on specific commercial details, but when asked about the possible profit margin for Stuff, Boucher said: “Both parties are satisfied with where we have ended up.”

But while the audience for TV news bulletins is declining — and the ad revenue has fallen accordingly — it is still substantial for TVNZ 1 and Three. The “appointment viewing” time of 6pm creates a viewing peak which the TV broadcasters use to hold viewers for the entertainment or factual programmes that follow.

Former Newshub chief Hal Crawford told Mediawatch the overall audience for Three could collapse without news in the evening.

“There’s still a reason that the 1 and the 3 on remotes around the country are worn down. News is the one programme that runs 365 days a year . . .  which the schedule is going to rely on to lead into prime time. So the rest of your schedule is going to dwindle. Ratings are gonna fall off and everything is going to go to pieces,” Crawford told Mediawatch.

“The loss of the newsroom represents the loss of the ability to respond to any event in real time. That is the heart and soul of a traditional TV broadcaster.”

Why Stuff?
Stuff has journalists in more places around the country than any other news publisher.

Stuff’s publisher Sinead Boucher recently told a parliamentary committee it had journalists in 19 locations, even after years of cuts and successive retrenchments.

“We have replatformed our business and have new ways of working. We look at this as starting this bulletin afresh rather than using the broadcast-heavy technology of today,” she told reporters at today’s news conference.

It also has audio and video production facilities at some sites and some senior journalists with TV reporting and presenting experience, such as former Newshub political editor Tova O’Brien, former TV3 current affairs reporter Paula Penfold and senior journalist Andrea Vance.

But Stuff video ventures have not endured. It launched its own free online video platform Play Stuff in mid-2019. It also hired key former TV3 current affairs staff for its own longform video productions but disbanded the Stuff Circuit team earlier this year.

When the Stuff app and website were refreshed recently, short vertical videos were added as a feature, called Stuff Shorts.

Stuff’s weakness has in the past been a dependence on newspaper advertising. It was only last year that Stuff launched its first paywalls for online news for three of its mastheads.

Stuff’s main rival NZME has half the country’s radio networks in addition to newsrooms supplying its newspapers and websites. NZME’s New Zealand Herald has been getting revenue from “premium content” digital subscriptions for four years.

After Boucher acquired Stuff in 2020, Stuff embarked on a digital transition creating more digital audio and video content. It has hired executives from multimedia companies such as Nadia Tolich (ex-NZME now Stuff Digital managing director) and former NZME digital leader Laura Maxwell, now Stuff’s chief executive.

Article by AsiaPacificReport.nz

The New York-based media watchdog Committee to Protect Journalists says the announcement by Israeli Prime Minister Benjamin Netanyahu of his intention to ban Al Jazeera follows a similar pattern of media interference, including the killing of media workers.

“We’ve seen this kind of language before from Netanyahu and Israeli officials in which they try to paint journalists as ‘terrorists’, as ‘criminals’. This is nothing new,” Jodie Ginsberg told Al Jazeera.

“It’s another example of the tightening of the free press and the stranglehold the Israeli government would like to exercise. It’s an incredibly worrying move by the government.”

Netanyahu wrote on X on Monday that “Al Jazeera harmed Israel’s security, actively participated in the October 7 massacre, and incited against Israeli soldiers.

“The terrorist channel Al Jazeera will no longer broadcast from Israel. I intend to act immediately in accordance with the new law to stop the channel’s activity.’

The Israeli parliament approved a law granting the government authority to ban foreign news networks, including Al Jazeera. PM Netanyahu pledged to “act immediately” to close the network’s local office ⤵️ pic.twitter.com/L2RXOzVi5t

— Al Jazeera English (@AJEnglish) April 2, 2024

The Qatar-based network rejected what it described as “slanderous accusations” and accused Netanyahu of “incitement”.

“Al Jazeera holds the Israeli Prime Minister responsible for the safety of its staff and network premises around the world, following his incitement and this false accusation in a disgraceful manner,” it said in a statement.

‘Slanderous accusations’
“Al Jazeera reiterates that such slanderous accusations will not deter us from continuing our bold and professional coverage, and reserves the right to pursue every legal step.”

Netanyahu has long sought to shut down broadcasts from Al Jazeera, alleging anti-Israel bias.

The law, which passed in a 71-10 vote in the Knesset, gives the prime minister and communications minister the authority to order the closure of foreign networks operating in Israel and confiscate their equipment if it is believed they pose “harm to the state’s security”.

White House spokesperson Karine Jean-Pierre said that an Israeli move to shut down Al Jazeera would be “concerning”.

“The United States supports the critically important work of journalists around the world and that includes those who are reporting in the conflict in Gaza,” Jean-Pierre told reporters.

“So we believe that work is important. The freedom of the press is important. And if those reports are true, it is concerning to us.”

The legislation’s passage comes nearly five months after Israel said it would block Lebanese outlet Al Mayadeen. It refrained from shutting Al Jazeera at the same time.

Move with closure
After the vote on Monday, Israel’s Communications Minister Shlomo Karhi said he intended to move forward with the closure. He said Al Jazeera had been acting as a “propaganda arm of Hamas” by “encouraging armed struggle against Israel”.

“It is impossible to tolerate a media outlet, with press credentials from the Government Press Office and offices in Israel, acting from within against us, certainly during wartime,” he said.

According to news agencies, his office said the order would seek to block the channel’s broadcasts in Israel and prevent it from operating in the country. The order would not apply to the occupied West Bank or Gaza.

Israel has often lashed out at Al Jazeera, which has offices in the occupied West Bank and Gaza.

In May 2022, Israeli forces shot dead senior Al Jazeera journalist Shireen Abu Akleh while she was covering an Israeli military raid in the West Bank town of Jenin.

A UN-commissioned report concluded that Israeli forces used “lethal force without justification” in the killing, violating her “right to life”.

During the war in Gaza, several of the channel’s journalists and their family members have been killed by Israeli bombardments.

On October 25, an air raid killed the family of Gaza bureau chief Wael Dahdouh, including his wife, son, daughter, grandson and at least eight other relatives.

Israel’s war on Gaza has killed at least 32,782 people, mostly women and children, according to Palestinian authorities.

Article by AsiaPacificReport.nz

The future of Aotearoa New Zealand television news and current affairs is in the balance at the two biggest TV broadcasters — both desperate to cut costs as their revenue falls.

The government says it is now preparing policy to modernise the media, but they do not want to talk about what that might be — or when it might happen.

On Monday, TVNZ’s 1News was reporting — again — on the crisis of cuts to news and current affairs in its own newsroom.

The extent of discontent about the proposed cuts had been made clear to chief executive Jodi O’Donnell at an all-staff meeting that day.

The news of cuts rocked the state-owned broadcaster when they were announced four days earlier.

In fact, it rocked the entire media industry because only one week earlier the US-based owners of Newshub had announced a plan to close that completely by mid year.

No-one was completely shocked by either development given the financial strife the local industry is known to be in.

But it seems no-one had foreseen that within weeks only Television New Zealand and Whakaata Māori would be offering national news to hundreds of thousands of New Zealanders who still tune in at 6pm or later on demand.

Likewise the prospect of no TV current affairs shows (save for those on Whakaata Māori) and no consumer affairs watchdog programme Fair Go, three years shy of a half century as one of NZ most popular local TV shows of all time.

Yvonne Tahana’s report for 1News on Monday pointed out Fair Go staff were actually working on the next episode when that staff meeting was held on Monday.

All this raised the question — what is a “fair go” according to the government, given TVNZ is state-owned?

Media-shy media minister?
After the shock announcements last week and the week before, Minister of Media and Communications Melissa Lee seemed not keen to talk to the media about it.

The minister did give some brief comments to political reporters confronting her in the corridors in Parliament after the Newshub news broke. But a week went by before she spoke to RNZ’s Checkpoint about it — and revealed that in spite of a 24-hour heads-up from Newhub’s offshore owner — Warner Bros Discovery — Lee did not know they were planning to shut the whole thing.

By the time the media minister was on NewstalkZB’s Drive show just one hour later that same day, the news was out that TVNZ news staff had been told to “watch their inboxes” the next morning.

In spite of the ‘no surprises’ convention, the minister said she was out of the loop on that too.

After that, it was TV and radio silence again from the minister in the days that followed.

“National didn’t have a broadcasting policy. We’re still not sure what they’re looking at. She needs to basically scrub up on what she’s going to be saying on any given day and get her head around her own portfolio, because at the moment she’s not looking that great,” The New Zealand Herald’s political editor Claire Trevett told RNZ’s Morning Report at the end of the week.

By then the minister’s office had told Mediawatch she would speak with us on Thursday. Good news — at the time.

Lee has long been the National Party’s spokesperson on media and broadcasting and Mediawatch has been asking for a chat since last December.

Last Sunday, TVNZ’s Q+A show told viewers Lee had declined to be interviewed for three weeks running.

Frustration on social media
At Newshub — where staff have the threat of closure hanging over them — The AM Show host Lloyd Burr took to social media with his frustration.

“There’s a broadcasting industry crisis and the broadcasting minister is MIA. We’ve tried for 10 days to get her on the show to talk about the state of it, and she’s either refused or not responded. She doesn’t even have a press secretary. What a shambles . . . ”

A switch of acting press secretaries mid-crisis did seem to be a part of the problem.

But one was in place by last Monday, who got in touch in the morning to arrange Mediawatch’s interview later in the week.

But by 6pm that day, they had changed their minds, because “the minister will soon be taking a paper to cabinet on her plan for the media portfolio”.

“We feel it would better serve your listeners if the minister came on at a time when she could discuss in depth about the details of her plan for the future of media, as opposed to the limited information she will be able to provide this Thursday,” the statement said.

“When the cabinet process has been completed, the minister is able to say more. That time is not now.”

The minister’s office also pointed out Lee had done TV and broadcast interviews over the past week in which she had “essentially traversed as much ground as possible right now”.

What clues can we glean from those?

Hints of policy plans
Even though this government is breaking records for changes made under urgency, it seems nothing will happen in a hurry for the media.

“I have been working with my officials to understand and bring the concerns from the sector forward, to have a discussion with my officials to work with me to understand what the levers are that the government can pull to help the sector,” Lee told TVNZ Breakfast last Monday.

A slump in commercial revenue is a big part of broadcasters’ problems. TVNZ’s Anna Burns Francis asked the minister if the government might make TVNZ — or some of its channels — commercial-free.

“I think we are working through many options as to what could potentially help the sector rather than specifically TVNZ,” Lee replied.

One detail Lee did reveal was that the Broadcasting Act 1989 was in play — something the previous government also said was on its to do list but did not get around to between 2017 and 2023.

It is a pretty broad piece of legislation which sets out the broadcasting standards regime and complaints processes, electoral broadcasting and the remit of the government broadcasting funding agency NZ On Air.

But it is not obvious what reform of that Act could really do for news media sustainability.

Longstanding prohibitions
The minister also referred to longstanding prohibitions on TV advertising on Sunday mornings and two public holidays. Commercial broadcasters have long called for these to be dumped.

But a few more slots for whiteware and road safety ads is not going to save news and current affairs, especially in this economy.

That issue also came up in a 22-minute-long chat with The Platform, which the minister did have time for on Wednesday.

In it, host Sean Plunket urged the minister not to do much to ease the financial pain of the mainstream media, which he said were acting out of self-interest.

He was alarmed when Lee told him the playing field needed to be leveled by extending regulation applied to TV and radio to online streamers as well — possibly through Labour’s Fair Digital News Bargaining Bill.

“Are you seriously considering the government imposing tax on certain large companies and paying that money directly to your chosen media companies that are asking for it?” Plunket asked.

“I have actually said that I oppose the bill but what you have to do as the minister is listen to the sector. They might have some good ideas.”

When Plunket suggested Lee should let the market forces play out, Lee said that was not desirable.

Some of The Platform’s listeners were not keen on that, getting in touch to say they feared Lee would bail the media out because she had “gone woke”.

That made the minister laugh out loud.

“I’m so far from woke,” she assured Sean Plunket.

A free-to-air and free-to-all future?
At the moment, TVNZ is obliged to provide easily accessible services for free to New Zealanders.

TVNZ’s Breakfast show asked if that could change to allow TVNZ to charge for its most popular or premium stuff?

The response was confusing:

“Well ready accessibility would actually mean that it is free, right? Or it could be behind a paywall — but it could still be available because they have connectivity,” Lee replied.

“A paywall would imply that you have to pay for it — so that wouldn’t be accessible to all New Zealanders, would it?” TVNZ’s Anna Burns-Francis asked.

“For a majority, yes — but free to air is something I support.”

When Lee fronted up on The AM Show for 10 minutes she said she was unaware they had been chasing a chat with her for 10 days.

Host Melissa Chan-Green bridled when the minister referred to the long-term decline of linear real time TV broadcast as a reason for the cuts now being proposed.

“To think that Newshub is a linear TV business is to misunderstand what Newshub is, because we have a website, we have an app, we have streaming services, we’ve done radio, we’ve done podcasts — so how much more multimedia do you think businesses need to be to survive?

“I’m not just talking about that but there are elements of the Broadcasting Act which are not a fair playing field for everyone. For example, there are advertising restrictions on broadcasters where there are none on streamers,” she said.

Where will the public’s money go?
On both Breakfast and The AM Show, Lee repeated the point that the effectiveness of hundreds of millions of dollars of public money for broadcasting is at stake — and at risk if the broadcasters that carry the content are cut back to just a commercial core.

“The government actually puts in close to I think $300 million a year,” Lee said.

“Should that funding be extended to include the client of current affairs programs are getting cut?” TVNZ’s Anna Burns-Francis asked her.

“I have my own views as to what could be done but even NZ on Air operates at arm’s length from me as Minister of Media and Communications,” she replied.

It is only in recent years that NZ On Air has been in the business of allocating public money to news and journalism on a contestable basis.

When the system was set up in 35 years ago that was out of bounds for the organisation, because broadcasters becoming dependent on the public purse was thought to be something to avoid — because of the potential for political interference through either editorial meddling or turning off the tap.

That began to break down when TV broadcasters stopped funding programs about politics which did not pull a commercial crowd — and NZ started picking up the tab from a fund for so-called special interest shows which would not be made or screened in a wholly-commercial environment.

Online projects with a public interest purpose have also been funded by in recent years in addition to programmes for established broadcasters — as NZ on Air declared itself “platform agnostic”.

Public Interest Journalism Fund
In 2020, NZ on Air was given the job of handing out $55 million over three years right across the media from the Public Interest Journalism Fund.

That was done at arm’s length from government, but in opposition National aggressively opposed the fund set up by the previous Labour government.

Senior MPs — including Lee — claimed the money might make the media compliant — and even silent — on anything that might make the then-Labour government look bad.

It would be a big surprise if Lee’s policy plan for cabinet includes direct funding for the news and current affairs programmes which could vanish from our TV screens and on-demand apps within weeks.

This week, NZ on Air chief executive Cameron Harland responded to the crisis with a statement.

“We are in active discussions with the broadcasters and the wider sector to understand what the implications of their cost cutting might be.

“This is a complex and developing situation and whilst we acknowledge the uncertainty, we will be doing what we can to ensure our funding is utilised in the best possible ways to serve local audiences.“

They too are in a holding pattern waiting for the government to reveal its plans.

But as the minister herself said this week, the annual public funding for media was substantial — and getting bigger all the time as the revenues of commercial media companies shrivelled.

And whatever levers the minister and her officials are thinking of pulling, they need to do decisively — and soon.

This article is republished under a community partnership agreement with RNZ.

Article by AsiaPacificReport.nz

The War on Gaza will be etched in the memories of generations to come — the brutality of Hamas’s 7 October 2023 attack, and the ferocity of Israel’s retaliation.

In this Four Corners investigative report, The Forever War, broadcast in Australia last night, ABC’s global affairs editor John Lyons asks the tough questions — challenging some of Israel’s most powerful political and military voices about the country’s strategy and intentions.

The result is a compelling interview-led piece of public interest journalism about one of the most controversial wars of modern times.

Former prime minister Ehud Barak says Benjamin Netanyahu can’t be trusted, former Shin Bet internal security director Ami Ayalon describes two key far-right Israeli ministers as “terrorists”,  and cabinet minister Avi Dichter makes a grave prediction about the conflict’s future.

Is there any way out of what’s beginning to look like the forever war? Lyons gives his perspective on the tough decisions for the future of both Palestinians and Israelis.

‘The Forever War’ – ABC Four Corners.      ABC Trailer on YouTube

Article by AsiaPacificReport.nz

It is a response to digital era changes in technology, viewing and advertising — but also the consequence of political choices.

“I can see that I’ve chosen a good night to come on,” TVNZ presenter Jack Tame said mournfully on his stint as a Newstalk ZB panelist last Wednesday.

The news that TVNZ news staff had been told to “watch their inboxes” the next morning had just broken.

It was less than a week since Newshub’s owners had announced a plan to close it completely in mid-year and TVNZ had reported bad financial figures for the last half of 2023.

The following day — last Thursday — TVNZ’s Midday News told viewers 9 percent of TVNZ staff — 68 people in total — would go in a plan to balance the books.

“The broadcaster has told staff that its headcount is high and so are costs,” said reporter Kim Baker-Wilson starkly on TVNZ’s Midday.

On chopping block
Twenty-four hours later, it was one of the shows on the chopping block — along with late news show Tonight and TVNZ’s flagship weekly current affairs show Sunday.

“As the last of its kind — is that what we want in our media landscape . . . to have no in-depth current affairs show?” said Sunday presenter Miriama Kamo (also the host of the weekend show Marae).

Consumers investigator Fair Go — with a 47-year track record as one of TVNZ’s most popular local shows — will also be gone by the end of May under this plan.

If Newshub vanishes from rival channel Three by mid year, there will be just one national daily TV news bulletin left — TVNZ’s 1News — and no long form current affairs at all, except TVNZ’s Q+A and others funded from the public purse by NZ on Air and Te Mangai Paho.

Tellingly, weekday TVNZ shows which will carry on — Breakfast and Seven Sharp — are ones which generate income from “partner content” deals and “integrated advertising” — effectively paid-for slots within the programmes.

TVNZ had made it known cuts were coming months ago because costs were outstripping fast-falling revenue as advertisers tightened their belts or spent elsewhere.

TVNZ executives had also made it clear that reinforcing TVNZ’s digital-first strategy would be a key goal as well as just cutting costs.

Other notable cut
So the other notable service to be cut was a surprise — the youth-focused digital-native outlet Re: News.

After its launch in 2017, its young staff revived a mothballed studio and gained a reputation for hard work — and then for the quality of its work.

It won national journalism awards in the past two years and reached younger people who rarely if ever turn on a television set.

Reportedly, the staff of Re: News staff is to be halved and lose some of its leaders.

The main media workers’ union E tū said it will fight to save jobs and extend the short consultation period.

Some staff made it plain that they weren’t giving up just yet either and would present counter-proposals to save shows and jobs.

In a statement, TVNZ said the proposals “in no way relate to the immense contribution of the teams that work on those shows and the significant journalistic value they’ve provided over the years”.

Money-spinners
But some were money-spinners too.

Fair Go and Sunday still pull in big six-figure live primetime TV audiences and more views now on TVNZ+. Its marketers frequently tell the advertisers that.

TVNZ chief executive Jodi O’Donnell knows all about that. She was previously TVNZ’s commercial director.

So why kill off these programmes now?

Mediawatch’s requests to talk to O’Donnell and TVNZ’s executive editor of news Phil O’Sullivan were unsuccessful.

But O’Donnell did talk to Newstalk ZB on Friday night.

“I’ve been quite open with the fact that there are no sacred cows. And we need to find some ways to stop doing some things for us to reduce our costs,” O’Donnell told Newstalk ZB.

“TVNZ’s still investing over $40 million in news and current affairs — so we absolutely believe in the future of news and current affairs. But we have a situation right now that our operating model is more expensive than the revenue that we’re making. And we have to make some really tough, tough decisions,” she said.

“We’ll constantly be looking at things to keep the operating model in line with what our revenue is. Within the TVNZ Act it’s clear that we need to be a commercial broadcaster, We are a commercial business, so that’s the remit that we need to work on.

“Our competitors these days are not (Newstalk ZB) or Sky or Warner Brothers (Discovery) but Google and Meta. These are multi-trillion dollar organisations. Ninety cents of every dollar spent in digital news advertising is going offshore. That’s 10 cents left for the likes of NZME, TVNZ, Stuff and any of the other local broadcasters.”

Jack Tame also pointed the finger at the titans of tech on his Newstalk ZB Saturday show.

Force of digital giants ‘irrepressible’
“Ultimately the force of those digital giants is irrepressible. Trying to save free-to-air commercial TV, with quality news, current affairs and local programming in a country with five million people . . .  is like trying to bail out the Titanic with an empty ice cream container. I’m not aware of any comparable broadcast markets where they’ve managed to pull it off,” he told listeners.

But few countries have a state-owned yet fully-commercial broadcaster trying to do news on TV and online, disconnected from publicly-funded ones also doing news on TV and radio and online.

That makes TVNZ a state-owned broadcaster that serves advertisers as much as New Zealanders.

But if things had panned out differently a year ago, that wouldn’t be the case now either.

What if the public media merger had gone ahead?
A new not-for-profit public media entity incorporating RNZ and TVNZ — Aotearoa New Zealand Public Media (ANZPM)  — was supposed to start one year ago this week.

It would have been the biggest media reform since the early 1990s.

The previous government was prepared to spend more than $400 million over four years to get it going.

Almost $20 million was spent on a programme called Strong Public Media, put in place because New Zealand’s media sector was weak.

“Ailing” was the word that the business case used, noting “increased competition from overseas players slashed the share of revenue from advertising.”

But the Labour government killed the plan before the last election, citing the cost of living crisis.

The new entity would still have needed TVNZ’s commercial revenue, but if it had gone ahead, would that mean TVNZ wouldn’t now be sacrificing news shows and journalists?

“Nobody’s surprised. Surely nobody is surprised that this ecosystem is not sustainable any longer. Something radical had to change,” Tracey Martin — the chair of the board charged with getting ANZPM up and running — told Mediawatch.

“I don’t have any problem believing that (TVNZ) would have had to change what they were delivering. But would it have been cuts to news and current affairs that we would have been seeing? There would have been other decisions made because commerciality . . . was not the major driver (of ANZPM),” Martin said.

“That was where we started from. If Armageddon happens — and all other New Zealand media can no longer exist — you have to be there as the Fourth Estate — to make sure that New Zealanders have a place to go to for truth and trust.”

What were the assumptions about the advertising revenue TVNZ would have been able to pull in?

“[TVNZ] was telling us that it wouldn’t be as bad as we believed it would be. TVNZ modeling was not as dramatic as our modeling. We were happy to accept that [because] our modeling gave us a particular window by which to change the ecosystem in which New Zealand media could survive to try and stabilise,” Martin told Mediawatch.

The business case document tracked TVNZ revenue and expenses from 2012 until 2020 — the start of the planning process for the new entity.

By 2020, a sharp rise in costs already exceeded revenue which was above $300 million.

And as we now know, TVNZ revenue has fallen further and more quickly since then.

“We were predicting linear TV revenue was going to continue to drop substantially and relatively quickly — and they were not going to be able to switch their advertising revenue at the same capacity to digital,” Martin said.

“They had more confidence than we did,” she said.

The ANZPM legislation estimated it as a $400 million a year operation, with roughly half the funding from public sources and half from commercial revenue.

TVNZ’s submission said that was “unambitious”.

“If the commercial arm of the new entity can aid in gaining more revenue to reinvest into local content and to reinvest into public media outcomes, all the better,” the chief executive at the time Simon Power told Mediawatch in 2023.

“It was a very rosy picture they painted. They had a mandate to be a commercial business that had to give confidence to the advertisers and the rest of New Zealand but they were very confident two years ago that this wouldn’t happen,” she said.

In opposition, National Party leader Christopher Luxon described the merger as “ideological and insane” and “a solution looking for a problem”.

He wasn’t alone.

But if that was based on TVNZ’s bullish assessments of its own revenue-raising capacity — or a disregard of a probable downturn ahead, was that a big mistake?

“I won’t comment for today’s government, but statements being made in the last couple of days about people getting their news from somewhere else; truth and trust has dropped off; linear has got to be transferred into the digital environment . . . none of those things are new comments,” Martin told Mediawatch.

“They’re all in the documentation that we placed into the public domain — and I asked the special permission, as the chair of the ANZPM group, to brief spokespersons for broadcasting of the Greens, Act and National to try and make sure that everybody has as much and as much information as we could give them,” she said.

Media and Communications Minister Melissa Lee said this week she was working on proposals to help the media to take to cabinet.

“I don’t give advice to the minister, but I would advise officials to go back and pull out the business case and paperwork for ANZPM — and to look at the submissions and the number of people who supported the concept, but had concerns about particular areas,” Tracey Martin told Mediawatch.

“Don’t let perfection get in the way of action.”

This article is republished under a community partnership agreement with RNZ.

Article by AsiaPacificReport.nz

Aotearoa New Zealand’s public television broadcaster TVNZ is planning significant cuts to content production, programmes and operational spending in response to commercial clients’ reduced spending on advertising.

Future projects are under review and pay rises for executives and top-earning staff have also been scrapped at the state-owned broadcaster.

Staff were informed of the changes in a memo and video address today from acting chief executive Brent McAnulty.

The memo says senior executives have identified “all the possible cost savings opportunities we have” in recent weeks.

“Content budgets have been reduced, both for local production and international content. Remuneration reviews have been cancelled for our exec team and our other highest-earning employees,” it said.

“There have been some really tough calls to make here, but we need to live within our means,” McAnulty told staff.

“All projects are being reviewed to decide whether they should continue, be paused, or be cancelled for this financial year,” the memo said.

Digital technology overhaul
TVNZ currently has a tender out for a major overhaul of its digital technology and internet infrastructure.

“We’re also putting tighter controls on capital expenditure and we’re looking at how we can reduce casual and contractor labour costs,” the memo said.

“The TV advertising market is tough right now, and as the biggest player we are being impacted,” McAnulty told staff in today’s memo.

“Local businesses have been reducing their advertising spend because of the economic conditions, and uncertainty in the lead up to the election,” it said.

The memo urges staff to use up their leave this year.

Recruitment for vacant roles is “paused until 2024” and TVNZ is “choosing not to fill some other vacant roles” and will defer the starting dates for some roles.

TVNZ has more than 750 staff. More than 300 of them earn more than $100,000 a year.

Annual allowance dropped
An annual allowance of $350 paid to all staff — which was effectively a covid-19 relief initiative — will not be paid this year.

TVNZ has “paused” all travel for 2024 except “business-critical travel related to newsgathering, commercial clients and content negotiations”.

TVNZ will also spend less on social media and online marketing and promotion and market research, according to the memo.

“We’re pausing all internal events — though we’re still hopeful that we’ll have Christmas celebrations in our three main offices,” the memo said.

TVNZ reported revenue of $180.3 million in the six months to December 2022, but forecast a loss of $15.6m in the 2023/24 financial year.

The broadcaster has previously signalled that it may need to respond to financial difficulties in the near future.

TVNZ’s most recent Statement of Intent (pdf) says alignment of revenues and costs was under “increasing pressure”.

A ‘dynamic approach’
“We’ll adopt a dynamic approach to the allocation of business resources between investing to sustain our core TV business and accelerating the growth of our future online business. The stronger the commercial performance of our core business, the more actively we’ll be able to invest in shaping our future,” the document says.

Brent McAnulty assured TVNZ staff in today’s memo that TVNZ still had a strong share of television audience and revenue and its online platform TVNZ+ had an “impressive growth trajectory.”

Previous CEO Kevin Kenrick persuaded the government in 2019 to allow TVNZ to effectively forgo dividends to the Crown to allow it to invest in programmes and digital services.

This angered rival commercial media rivals who could expect no such backstop, while also competing with offshore-owned streaming services as well other broadcasters for audience and revenue.

TVNZ has invested heavily in TVNZ+ and recently launched live sport on the platform after securing rights held by Spark Sport until it ceased in July.

This article is republished under a community partnership agreement with RNZ.

Article by AsiaPacificReport.nz

Twenty five broadcasters from 13 Pacific countries touched down in Auckland recently for the Pacific Broadcasters conference.

A meet and greet filled with lots of talanoa, networking and healthy debate, the conference was a welcome change from a typical Zoom meeting.

Natasha Meleisea, chief executive of Pacific Cooperation Broadcasting Ltd (PCBL), which operates Pasifika TV, says the conference was about uniting Pacific broadcasters.

“I’ve kind of shared messages today around, it’s never a solo journey. There is strength in the collective and partnerships is really important,” Meleisea says.

“For a very long time we’ve had Pacific voices or Pacific stories being told by non-Pacific. There’s nothing wrong with that.

“However, it’s good to provide a platform where our own Pacific people can share those stories themselves and PCBL, Pasifika TV enables that.”

Vanuatu Broadcasting and Television Cooperation (VBTC) chief executive Francis Herman says that after seeing Vanuatu stories in the hands of overseas productions, story sovereignty is an important point of discussion.

‘Misconstrued a lot of things’
“We’ve noticed that in previous years, people have just flown in, told our stories, misconstrued a lot of things,” says Herman.

“[They’ve] gone for the ratings, gone for the dollars and left us high and dry, and they really haven’t told the real stories. We are the experts in our own culture, our own island, or about our people.”

But Herman says the PCBL partnership has been a “faithful . . . and equal partnership.”

“We haven’t been seen as a very small island developing state or a very small broadcaster. They’ve treated us as equals.

“We tell our own stories. We know our audience better, we know our country better than they do.

“Let’s tell our stories. And I think Pasifika TV has given us that opportunity and that’s why we’ve continued that partnership.”

Story sovereignty major factor for Pacific broadcasters. Video: Tagata Pasifika

Part of that partnership includes training in camera production, operation of Live U units and journalism training, something which Kiri One TV chief executive Tiarite George Kwong deeply values.

“Kiri One just started five years ago . . . and so we are very new in this kind of industry,” Kwong says.

‘Upgrading our skills’
“The idea for the partnership with PCBL is to upgrade our skills so that the news that we produce is up to the standard that people want to listen and watch every day.

“Compared from day one that we started, we have seen the improvement.”

Broadcasters like Mai TV in Fiji have taken the PCBL training one step further, when they acquired the netball rights for the Oceania Netball Series in 2022, their first time to do so.

“We were thinking we cannot do this because you need all the different equipment and costs and things,” says director of Mai TV Stanley Simpson.

“But we spoke with PCBL and they found solutions for us. And through that we were able to take the Oceania Netball series to Tonga, to Samoa and the Cook Islands, which is the first time that we were able to distribute rights from Fiji.

“That empowerment has been really strong. And from the discussions and the inspiring conversations we’ve had with the team at PCBL, it made us look around and realise that we have the best stories in the world in the Pacific.”

Now that their Pacific counterparts are receiving the necessary training and equipment, Meleisea says there is an abundance of Pacific content being produced from their regional partners.

‘A phenomenal feat’
“We went to air in 2016, at that point in time we weren’t getting any content from the Pacific. Fast forward eight years down the track, we’re now getting eight to 10 hours a day from the Pacific, which is a phenomenal feat.

“In order to achieve that, it’s been a slow build. It’s been about providing equipment, providing training, and then providing the infrastructure and the connectivity to enable it.

“So without all of those three things, we wouldn’t have been able to get the content from the region.”

Funded as part of NZ’s Public Interest Journalism project. Republished from Tagata Pasifika with permission.

Article by AsiaPacificReport.nz

When I was growing up in Kiribati, then known as the Gilbert Islands, New Zealand divers came to safely detonate unexploded munitions from World War II.

Decades on from when US Marines fought and won the Battle of Tarawa against Japan, war was still very much a part of everyday life.

Our school bell was a bombshell. We’d find bullet casings.

In fact, my grandmother’s leg was badly injured when she lit a fire on the beach, and an unexploded ordnance went off. There are Japanese bunkers and US machine gun mounts along the Betio shoreline, and bones are still being found — even today.

Stories are told . . . so many people died . . . these things are not forgotten.

That’s why the security and defence pacts being drawn up around the Pacific are worrying much of the region, as the US and Australia partner up to counter China’s growing influence.

You only have to read Australia’s Defence Strategic Review 2023 to see they are preparing for conflict.

The battle is climate change which is impacting their everyday life. The bigger powers will most certainly go through the motions of at least hearing their voices.

— Barbara Dreaver

Secret pact changed landscape
While in the last few years we have seen China put big money into the Pacific, it was primarily about diplomatic weight and ensuring Taiwan wasn’t recognised. But the secret security pact with the Solomon Islands changed the landscape dramatically.

There was a point where it stopped being about just aid and influence — and openly started to become much more serious.

Since then, the escalation has been rapid as the US and Australia have amped up their activities — and other state actors have as well.

In some cases, lobbying and negotiating have been covertly aggressive. Many Pacific countries are concerned about the militarisation of the region — and whether we like it or not, that’s where it’s headed.

Tuvalu’s Foreign Minister Simon Kofe said he understands why his country, which sits between Hawai’i and Australia, is of strategic interest to the superpowers.

Worried about militarisation, he admits they are coming under pressure from all sides — not just China but the West as well.

“In World War II, the war came to the Pacific even though we played no part at all in the conflict, and we became victims of a war that was not of our making,” he said.

Important Pacific doesn’t forget
“So it’s important for the Pacific not to forget that experience now we are seeing things that are happening in this part of the world, and it’s best we are prepared for that situation.”

Academic Dr Anna Powles, a long-time Pacific specialist, said she was very concerned at the situation, which was a “slippery slope” to militarisation.

She said Pacific capitals were being flooded with officials from around the region and from further afield who want to engage.

Pacific priorities are being undermined, and there is a growing disconnect in the region between national interest and the interest of the political elites.

Today in Papua New Guinea, we see first-hand how we are on the cusp of change.

They include big meetings spearheaded by the US Secretary of State Antony Blinken, another one by India’s Prime Minister Narendra Modi and a defence deal that will allow US military access through ports and airports. In exchange, the US is providing an extra US$45 million (NZ$72 million) in funding a raft of initiatives, some of which include battling the effects of climate change.

Equipment boost
The PNG Defence Force is also getting an equipment boost, and there’s a focus on combatting law and order issues — which domestically is a big challenge — and protecting communities, particularly women, from violence.

There is much in these initiatives that the PNG government and the people here will find attractive. It may well be the balance between PNG’s national interest and US ambitions is met — it will be interesting to see if other Pacific leaders agree.

Because some Pacific leaders are happy to be courted and enjoy being at the centre of global attention (and we know who you are), others are determined to do the best for their people. The fight for them is not geopolitical, and it’s on the land they live on.

The battle is climate change which is impacting their everyday life. The bigger powers will most certainly go through the motions of at least hearing their voices.

What that will translate to remains to be seen.

Barbara Dreaver is TV1’s Pacific correspondent and is in Papua New Guinea with the New Zealand delegation. Republished with permission.

Article by AsiaPacificReport.nz

SPECIAL REPORT: By ABC Backstory editor Natasha Johnson

When Tahlea Aualiitia talks about hosting the ABC’s new Pacific-focused news and current affairs TV programme, The Pacific, her voice breaks and she becomes emotional.

Personally, it’s a career milestone, anchoring her first TV show after a decade working mostly in radio, producing ABC local radio programmes and presenting Pacific Mornings on ABC Radio Australia. But it’s also much more than that.

Aualiitia grew up in Tasmania and is of Samoan (and Italian) heritage. She has strong connections to the country and the Pacific Islander community in Australia.

What moves her so profoundly about The Pacific is that the 30-minute, weekly programme is being broadcast across the Pacific on ABC Australia, the ABC’s international TV channel, as well as in Australia (on the ABC News Channel and iview), and is produced by a team with a deep understanding of the region and features stories filed by local journalists based in Pacific nations.

“For me, it’s representation and I think that is really important,” she says.

“I’m probably going to cry because for so long I feel that in Australia and on mainstream TV, Pacific Islanders have been, at best, under-represented and, at worst, misrepresented.

“Given the geopolitical interest, there is more focus on the Pacific but my hope for this show is that it will highlight Pacific voices, really centre those voices as the people telling their stories and change the narrative.

‘The ABC cares’
“It shows the ABC cares, we are not just saying we decide what you watch, we’re involving you in what we’re doing, and I think that that makes a difference.”

Aualiitia’s father was born in Samoa and moved to New Zealand at the age of 12, then later to Australia. Her mother’s brother married a Samoan woman, so Samoan culture was celebrated in her immediate and extended family.

She recalls a childhood shaped by Samoan food, dance and song, and the importance of family, faith and rugby. But from her experience, “the narrative” about the Pacific in Australia has tended towards being negative or patronising.

“I think people tend to see the Pacific as a monolith and there are a lot of stereotypes about what a Pacific Islander is, especially in view of the climate change crisis — there’s this idea everyone’s a victim and they should all just move to Australia,” she says.

“There’s a lot of stuff you carry as a brown journalist. When I hear a story on the news about a Pacific Islander and a crime, I brace myself and think about what that might mean for my day, is it going to make my day at harder when I walk out onto the street, will it make my day at work harder?

“I’ve had people say to me when they learn I have an arts degree, ‘oh, your parents must be so proud of you because you’re the first person in your family who has gone to uni’. And that’s not true, my dad has a PhD in chemistry.

“It’s indicative of ideas that people have of what you’re capable of, what you can do, and that’s the power of the media to shape those narratives and change those narratives.

Facebook ‘reality’ check
“When I started presenting Pacific Mornings, I would interview people from across the Pacific and people would find me on Facebook, message me, saying, ‘I didn’t know any Pacific Islanders were working at the ABC’.

“I was just doing my job, but they said they were proud of me, of the visibility and that it was a good thing that it was happening. So, I hope this programme re-frames things a little bit by showing the rich diversity of the Pacific, its different cultures, resilience, and the joy of being Pacific.”

The Pacific is being produced by the ABC’s Asia Pacific Newsroom (APN), based in Melbourne, with funding from ABC International Broadcast and Digital Services.

While the scope of the ABC’s international services has fluctuated over the years, depending on federal government funding levels, an injection of $32 million over four years to ABC International Services allocated in the 2022 budget has enabled this first-of-its-kind programme to be made, among a suite of other initiatives under the Indo-Pacific Broadcast strategy.

“The APN has been a trusted content partner for the ABC’s International Services team for many years and already has deep Pacific expertise,” says Claire Gorman, head of international services.

“We have been working with the APN to produce our flagship programmes Pacific Beat and Wantok for ABC Radio Australia and have been wanting to produce a TV news programme for Pacific audiences for some time, but until now have not have the funding for it.

“The Pacific is the first of many exciting developments in the pipeline. We believe it is more important than ever before for Australians and Pacific audiences to have access to independent, trusted information about our region.”

Pacific-wide team
Joining Aualiitia on air is long-serving Pacific Beat reporter and executive producer Evan Wasuka and journalist Johnson Raela, who previously worked in New Zealand and the Cook Islands.

Correspondent Lice Movono, based in Suva, Fiji, and Chrisnrita Aumanu-Leong in Honiara, Solomon Islands, are contributing to the programme as part of a developing “Local Journalism Network”, also funded under the Indo-Pacific Broadcast strategy, to use the expertise of independent journalists located in the region.

Behind the scenes are APN supervising producer Sean Mantesso, producers Gabriella Marchant, Dinah Lewis Boucher, Nick Sas and APN managing editor Matt O’Sullivan.

“The ABC has covered the Pacific for decades but largely for the Pacific audience,” says O’Sullivan.

“In recent years, that’s mostly been via Pacific Beat and increasingly through digital and video storytelling. We’ve felt for some time that there’s growing interest in the Pacific within Australia and there’s also a massive Pacific diaspora in Australia with strong links to the region.

“So, we’ve felt a need to share our content more broadly. The Pacific programme will cover the breadth of Pacific life beyond palm trees and tourism, from politics to jobs and the economy, climate change, culture and sport.”

Lice Movono has been working as a journalist in Fiji for 16 years and has previously filed for the ABC. She believes elevating the work of regional journalists across the ABC programs and platforms, through the Local Journalism initiative, will help provide more informed coverage of Pacific affairs.

“I believe it’s critical for journalists from within the Pacific to be at the centre of storytelling about the Pacific,” she says.

“A few years ago, while working in a local media organisation, I had the opportunity to attend a conference in Europe and it shocked and saddened me to find that there are people on the other side of the world who have little or no understanding of what it means to live with the reality of climate change here in the region.

“So, it means everything for me to work with the ABC, which has one of the widest, if not the widest reach in the Pacific region and to have access to a platform that tells stories about the Pacific and Fiji, in particular, to the rest of the world, to tell authentic stories through the lens of a Pacific Islander, and an Indigenous one at that, about the realities of what Pacific people face.”

While the covid pandemic and various lockdowns curbed a lot of international news gathering, it provided an opportunity to showcase the work of locally based reporters on ABC domestic channels.

“We’ve often used stringers in the region, but covid showed us the value journalists in country can offer,” says O’Sullivan.

“Because we couldn’t fly Australian-based crews into the region during the pandemic, we relied more on journalists in the Pacific telling their stories, for example during the 2021 riots in Solomon Islands.

“We are now building on that foundation of local expertise and knowledge by establishing the Local Journalism Network of independent journalists to report for the ABC.

“We’ve had producers doing training with them, teaching them how to shoot good TV pictures and we’ve provided mobile journalism kits that enable them to quickly do a TV cross.

“In filing for the ABC, they can tell stories local media often can’t but the challenge for us is protecting them.”

Support and protection from the ABC has been welcomed by Movono. Renowned for her tough questioning, she has endured personal threats and harassment over the course of her career, but the country is now moving into a new era of openness with the newly-elected Rabuka government repealing the controversial Media Industry Development Act that was introduced under military law in 2010 and has been regarded as a restraint on media freedom.

In an international scoop, Movono landed an interview with the new Prime Minister, Sitiveni Rabuka, for the first episode of The Pacific.

“When I knew that there was going to be a segment of The Pacific where we could Talanoa with leaders of the Pacific, it was important for me to position the ABC as the one international organisation that Rabuka would do an interview with,” she says.

“I knew, with the new government only weeks into power, it was going to be a challenge. The government is dealing with a failing economy, a divided country, high inflation, high levels of poverty, the ongoing recovery from covid and trying to mitigate the impacts of climate change.

“But he has made progress as a Pacific leader, as the leader of a country just coming out of a military dictatorship, and he’s done some significant work in the region. So, it was a very significant interview, probably one of the most important assignments of my career.”

In addition to new content and engagement of local journalists, ABC International Services is also expanding the FM footprint for ABC Radio Australia and enhancing media training across the region.

As she prepared for the first episode of The Pacific to go to air, Tahlea Aualiitia was keen to hear the feedback from the audience and — with some trepidation– from family and friends in Samoa.

“I think that’s the part that I’m most nervous about,” she says.

“I know that they will lovingly make fun of my struggling to pronounce Samoan words properly, given I grew up in Australia, but I know they’re already proud of me because of the work I’m doing here.

“Having said that, my brother is a doctor, so I don’t think I’ll ever reach that level of family pride but I’m getting closer!”

The Pacific premiered on ABC Australia last Thursday. This article is republished with permission.

Article by AsiaPacificReport.nz

SPECIAL REPORT: By ABC Backstory editor Natasha Johnson

When Tahlea Aualiitia talks about hosting the ABC’s new Pacific-focused news and current affairs TV programme, The Pacific, her voice breaks and she becomes emotional.

Personally, it’s a career milestone, anchoring her first TV show after a decade working mostly in radio, producing ABC local radio programmes and presenting Pacific Mornings on ABC Radio Australia. But it’s also much more than that.

Aualiitia grew up in Tasmania and is of Samoan (and Italian) heritage. She has strong connections to the country and the Pacific Islander community in Australia.

What moves her so profoundly about The Pacific is that the 30-minute, weekly programme is being broadcast across the Pacific on ABC Australia, the ABC’s international TV channel, as well as in Australia (on the ABC News Channel and iview), and is produced by a team with a deep understanding of the region and features stories filed by local journalists based in Pacific nations.

“For me, it’s representation and I think that is really important,” she says.

“I’m probably going to cry because for so long I feel that in Australia and on mainstream TV, Pacific Islanders have been, at best, under-represented and, at worst, misrepresented.

“Given the geopolitical interest, there is more focus on the Pacific but my hope for this show is that it will highlight Pacific voices, really centre those voices as the people telling their stories and change the narrative.

‘The ABC cares’
“It shows the ABC cares, we are not just saying we decide what you watch, we’re involving you in what we’re doing, and I think that that makes a difference.”

Aualiitia’s father was born in Samoa and moved to New Zealand at the age of 12, then later to Australia. Her mother’s brother married a Samoan woman, so Samoan culture was celebrated in her immediate and extended family.

She recalls a childhood shaped by Samoan food, dance and song, and the importance of family, faith and rugby. But from her experience, “the narrative” about the Pacific in Australia has tended towards being negative or patronising.

“I think people tend to see the Pacific as a monolith and there are a lot of stereotypes about what a Pacific Islander is, especially in view of the climate change crisis — there’s this idea everyone’s a victim and they should all just move to Australia,” she says.

“There’s a lot of stuff you carry as a brown journalist. When I hear a story on the news about a Pacific Islander and a crime, I brace myself and think about what that might mean for my day, is it going to make my day at harder when I walk out onto the street, will it make my day at work harder?

“I’ve had people say to me when they learn I have an arts degree, ‘oh, your parents must be so proud of you because you’re the first person in your family who has gone to uni’. And that’s not true, my dad has a PhD in chemistry.

“It’s indicative of ideas that people have of what you’re capable of, what you can do, and that’s the power of the media to shape those narratives and change those narratives.

Facebook ‘reality’ check
“When I started presenting Pacific Mornings, I would interview people from across the Pacific and people would find me on Facebook, message me, saying, ‘I didn’t know any Pacific Islanders were working at the ABC’.

“I was just doing my job, but they said they were proud of me, of the visibility and that it was a good thing that it was happening. So, I hope this programme re-frames things a little bit by showing the rich diversity of the Pacific, its different cultures, resilience, and the joy of being Pacific.”

The Pacific is being produced by the ABC’s Asia Pacific Newsroom (APN), based in Melbourne, with funding from ABC International Broadcast and Digital Services.

While the scope of the ABC’s international services has fluctuated over the years, depending on federal government funding levels, an injection of $32 million over four years to ABC International Services allocated in the 2022 budget has enabled this first-of-its-kind programme to be made, among a suite of other initiatives under the Indo-Pacific Broadcast strategy.

“The APN has been a trusted content partner for the ABC’s International Services team for many years and already has deep Pacific expertise,” says Claire Gorman, head of international services.

“We have been working with the APN to produce our flagship programmes Pacific Beat and Wantok for ABC Radio Australia and have been wanting to produce a TV news programme for Pacific audiences for some time, but until now have not have the funding for it.

“The Pacific is the first of many exciting developments in the pipeline. We believe it is more important than ever before for Australians and Pacific audiences to have access to independent, trusted information about our region.”

Pacific-wide team
Joining Aualiitia on air is long-serving Pacific Beat reporter and executive producer Evan Wasuka and journalist Johnson Raela, who previously worked in New Zealand and the Cook Islands.

Correspondent Lice Movono, based in Suva, Fiji, and Chrisnrita Aumanu-Leong in Honiara, Solomon Islands, are contributing to the programme as part of a developing “Local Journalism Network”, also funded under the Indo-Pacific Broadcast strategy, to use the expertise of independent journalists located in the region.

Behind the scenes are APN supervising producer Sean Mantesso, producers Gabriella Marchant, Dinah Lewis Boucher, Nick Sas and APN managing editor Matt O’Sullivan.

“The ABC has covered the Pacific for decades but largely for the Pacific audience,” says O’Sullivan.

“In recent years, that’s mostly been via Pacific Beat and increasingly through digital and video storytelling. We’ve felt for some time that there’s growing interest in the Pacific within Australia and there’s also a massive Pacific diaspora in Australia with strong links to the region.

“So, we’ve felt a need to share our content more broadly. The Pacific programme will cover the breadth of Pacific life beyond palm trees and tourism, from politics to jobs and the economy, climate change, culture and sport.”

Lice Movono has been working as a journalist in Fiji for 16 years and has previously filed for the ABC. She believes elevating the work of regional journalists across the ABC programs and platforms, through the Local Journalism initiative, will help provide more informed coverage of Pacific affairs.

“I believe it’s critical for journalists from within the Pacific to be at the centre of storytelling about the Pacific,” she says.

“A few years ago, while working in a local media organisation, I had the opportunity to attend a conference in Europe and it shocked and saddened me to find that there are people on the other side of the world who have little or no understanding of what it means to live with the reality of climate change here in the region.

“So, it means everything for me to work with the ABC, which has one of the widest, if not the widest reach in the Pacific region and to have access to a platform that tells stories about the Pacific and Fiji, in particular, to the rest of the world, to tell authentic stories through the lens of a Pacific Islander, and an Indigenous one at that, about the realities of what Pacific people face.”

While the covid pandemic and various lockdowns curbed a lot of international news gathering, it provided an opportunity to showcase the work of locally based reporters on ABC domestic channels.

“We’ve often used stringers in the region, but covid showed us the value journalists in country can offer,” says O’Sullivan.

“Because we couldn’t fly Australian-based crews into the region during the pandemic, we relied more on journalists in the Pacific telling their stories, for example during the 2021 riots in Solomon Islands.

“We are now building on that foundation of local expertise and knowledge by establishing the Local Journalism Network of independent journalists to report for the ABC.

“We’ve had producers doing training with them, teaching them how to shoot good TV pictures and we’ve provided mobile journalism kits that enable them to quickly do a TV cross.

“In filing for the ABC, they can tell stories local media often can’t but the challenge for us is protecting them.”

Support and protection from the ABC has been welcomed by Movono. Renowned for her tough questioning, she has endured personal threats and harassment over the course of her career, but the country is now moving into a new era of openness with the newly-elected Rabuka government repealing the controversial Media Industry Development Act that was introduced under military law in 2010 and has been regarded as a restraint on media freedom.

In an international scoop, Movono landed an interview with the new Prime Minister, Sitiveni Rabuka, for the first episode of The Pacific.

“When I knew that there was going to be a segment of The Pacific where we could Talanoa with leaders of the Pacific, it was important for me to position the ABC as the one international organisation that Rabuka would do an interview with,” she says.

“I knew, with the new government only weeks into power, it was going to be a challenge. The government is dealing with a failing economy, a divided country, high inflation, high levels of poverty, the ongoing recovery from covid and trying to mitigate the impacts of climate change.

“But he has made progress as a Pacific leader, as the leader of a country just coming out of a military dictatorship, and he’s done some significant work in the region. So, it was a very significant interview, probably one of the most important assignments of my career.”

In addition to new content and engagement of local journalists, ABC International Services is also expanding the FM footprint for ABC Radio Australia and enhancing media training across the region.

As she prepared for the first episode of The Pacific to go to air, Tahlea Aualiitia was keen to hear the feedback from the audience and — with some trepidation– from family and friends in Samoa.

“I think that’s the part that I’m most nervous about,” she says.

“I know that they will lovingly make fun of my struggling to pronounce Samoan words properly, given I grew up in Australia, but I know they’re already proud of me because of the work I’m doing here.

“Having said that, my brother is a doctor, so I don’t think I’ll ever reach that level of family pride but I’m getting closer!”

The Pacific premiered on ABC Australia last Thursday. This article is republished with permission.

Article by AsiaPacificReport.nz